What does the emergence of AI models mean in the field of generative art? NFT Artists and Curators Weigh in | Artnet News
NFT trading volume is down a staggering 97 percent from its 2021 peak, but the crypto-art horizon can lay claim to one bright spot: the generative art medium and market.
On December 1st at Art Basel Miami Beach, the model is in the spotlight at Tezos and Fxhash’s exhibition, “Performance in Code: Decoding Value in Generative Art.” Emerging generative artists like Ivona Tau and Tyler Boswell will be on display, and visitors can make their own NFTs.
The exhibition follows the opening of Rafik Anadol’s solo exhibition at New York’s Museum of Modern Art, where generative art receives major museum exposure. On display are the artist’s latest data-driven architectural installations, created by entering data drawn from the Museum of Modern Art’s archives – everything from portraits by Hans Hack to paintings by Cézanne and Van Gogh – to a code that generates waves based on chance and geometric shapes.
This institutional recognition is followed by a respectable, if cautious, market interest. Throughout 2022, Major auction houses ChristyAnd the Phillips And the Sotheby’s It had initial art sales, with its latest auction in April bringing in a total of $2.3 million. Art Blocks, the platform founded by Erick Calderon (aka Snowfro) that has been largely responsible for promoting generative art on-chain, has been doing remarkably well, despite the crypto bear market: its market cap as of September 2022 is over $841 million. .
But even as generative art may survive in the faltering NFT market (recently fueled by the spectacular collapse of FTX), the recent popularization of AI technology could herald other shifts in the field.
Generative art emerged as far back as the 1960s, led by pioneers like Vera Molnar and Herbert Frank, who used system-based design thinking to engineer random, repetitive works. The model has found new life on-chain with practitioners like Snowfro and Dmitri Cherniak deploying creative coding and algorithms to create variations with each smart contract.
“What these artists all have in common,” said George Buck, a collector and art consultant, is their unwavering dedication to serendipity and control, which is kind of electronic serendipity. According to Buck, who organized a generative art auction at Phillips earlier this year, The form remains one of the least understood and appreciated genres of new media art. He added that while the market may have been slow to embrace generative art, institutions have not.
Recently, however, the advent of AI generators such as OpenAI’s DALL-E has made generative art newly available—and even accepted. for Janik Simon, Polish artist Synthetic folklore The project saw him use AI to reimagine different ethnic traditions, and new AI models are game-changing.
“Simon told Artnet News, referring to artificial intelligence programs such as DALL-EAnd the MedjourneyAnd the asynchronous artwhich he tried. But wHe added that the hat makes AI art interesting “not just projects that use glitches and clichéd features. If you really want to get into that, AI and generative art, you need to learn how to code.”
Due to compatibility with the latest technology, born artists like Simon are also reluctant to see AI as a threat to human creativity or art. “It would be very difficult for an artificial intelligence to come up with an idea like putting a urinal on a pedestal,” he said, referring to Marcel Duchamp’s 1917 ready-made exhibition, Fountain.
Chernyak, whose latest generative art collection was created in partnership with estate Laszlo Moholy-Nagy, echoes that sentiment. “I think we live in an increasingly technical world, with increasingly powerful technological tools, and humanity will always show some form of creativity,” he told Artnet News. “It makes perfect sense to me that as these tools become more accessible and the general public becomes more technologically inclined to use automation and code for creative tasks.”
With or without interest in the market, the field of generative art seems to be advancing rapidly, with the help of a plethora of new tools and software. Besides showcasing Anadol at MoMA, Pace Verso, the Web3 arm of Pace Gallery, has also recruited a host of top mulatto artists through its partnership with Art Blocks. Most recently, in October, the couple released Loie Hollowell’s first NFT project, a collection of 280 generative sculpted abstractions.
These developments, along with an institutional push, are likely to pave a long-term path for digital art and non-financial technologies. “The machine provides opportunities to find new forms of expression that the artist modifies based on his vision,” said Curator of the Digital Art Gallery. Alexandra Artamonovskaya. “For some, a machine is just like a paintbrush, while for others, a token is the medium — the canvas for creation.”
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